Hasta La Creative!

We’re not sure quite what to make of MUH-TAY-ZIK | HOF-FER’s spot promoting season two of Netflix’s original series Grace and Frankie with a reference to what some quick Googling reveals to be the show’s running yam lube joke (we’ve never seen it).

Ostensibly an ad for “farm to vagina” yam lube, the spot opens with a voiceover proclaiming “I am a thunderstorm after years of drought” as an old woman dances onscreen, followed by a whispered “yam lube.” The product in question is character Frankie Bergstein’s (a hippie art teacher played by Lily Tomlin) all natural lubricant and the spot finally nods to the character (and the show, via a hashtag) at its conclusion.

For fans of the show, it serves as a reminder that season two is now available for streaming (in a way they aren’t likely to forget). For viewers who haven’t seen the show, meanwhile, it’s certainly an attention-grabber…and sort of a bizarre point of entry. Not having seen the show, we can’t really say if the humor of the ad fits its tone, but we do see how it could inspire curious (in a “WTF was that?” kind of way) viewers to watch at least one episode or two.

And a fake ad for a fictional product from the show (we think?) is kind of a clever idea. It follows MUH-TAY-ZIK | HOF-FER’s recent effort for Method, which saw the agency staging some quite memorable messes.

Following a decision by the alcopop brand Mike’s to concentrate exclusively on digital advertising, independent Los Angeles agency Battery launched a digital campaign introducing its new line of higher ABV offerings, Mike’s Harder, with some good old-fashioned juvenile penis humor.

In the 30-second “Speech,” for example, said schpiel is delivered by a blonde woman, who opens the spot with the suggestively-delivered, “Have things gotten soft? Ask your grocer about Mike’s Harder,” before almost dropping a can of the malt beverage and suggesting that it “might take two hands.” In the background, two men pitch a tent (literally). As the ad goes on, the woman continues the speech as one man wrestles with a watering hose and another sits on a pool noodle.

The phallic references, clearly, are not subtle, which is kind of the point. The sophomoric humor targets the kind of millenial men who were probably already cracking jokes about the Mike’s Hard name. Presumably the brand is assuming that the new line will appeal primarily to young men looking for a cheap buzz.

The exclusionary approach, however, may turn off others (and we’re pretty sure both guys and girls drink alcopop) from the main Mike’s Hard Lemonade brand. We’re also not sure we buy the assumption that women would automatically shy away from the higher ABV offering, or that there wasn’t a way to appeal to the stated core audience that has less potential to alienate other viewers. We’re certainly not averse to dick jokes, but the spots could have worked a little harder, haha, on the delivery.

At any rate, the approach extends to a series of 15-second spots, with clay pottery and a man kneading bread standing in for the phallic references. One of the spots makes reference to a certain highly-advertised drug, stating that you should seek medical attention if your Mike’s Harder lasts longer than four hours.

As with many questionable advertising ideas, the approach seems to have originated with the client.

“The client wants to own it,” Battery CCO Philip Khosid told Adweek. “So we came up with something to engage the young male audience and be irreverent but still be clever about it with a play on words.”

The campaign will run at least until the end of the summer, possibly longer. “It’s funny and bold,” Mike’s Harder creative director Kevin Brady said of the campaign, which he thinks has staying power, “and it made us laugh out loud.”

360i worked with the Christopher & Dana Reeve Foundation and AXIOS on a new campaign called “Adaptoys,” adapting technology to help those with paralysis actively play with children.

A video documenting the venture focuses on Donna Lowich, a grandmother of three young girls who sustained a spinal cord injury over 30 years ago that left her paralyzed from the neck down and former football player Eric Legrand, who became paralyzed when he fractured his C3C4 vertebrae while making a tackle in an October 2010 game. The video shows Lowich able to play with her granddaughters for the first time thanks to a pitching machine which was adapted for voice activation. Legrand, meanwhile, is excited to race RC cars with his nephews thanks to a remote control adapted so that he can use his mouth to drive the car. The video ends with a call for viewers to donate. 

The team hopes to raise $155,000 from the campaign, in order to build 100 of the “Adaptoy” race cars. Eventually, the goal is to give both “Adaptoys” a mass market release, so that they’re available for families living with paralysis.

360i actually approached the Christopher & Dana Reeve Foundation with the idea for the campaign, which it had been developing for a few years. Pierre Lipton, CCO at 360i told Adweek that the cause was a personal one for him, since his father grew up with a similar disability. “I think what the work brings forward is that the physical limitations sometimes become the emotional limitations in making this connection between the family member and the child, and that’s what we’re trying to overcome here,” he said. 

CREDITS

Client: Christopher & Dana Reeve Foundation
Agency: 360i
Technology Company: AXIOS NYC
Production Company: tinygiant
Post-Production: Fluid

360i Credits:
Chief Creative Officer: Pierre Lipton
Group Creative Director: Fabio Seidl
Creative Director: Corel Theuma
Creative Director: James Rogala
VP, Group Account Director: Deborah Korono
Account Supervisor: Maiko Kitagawa
VP, Innovation Technology: Layne Harris
Associate Creative Technologist: Alexis Moses
Senior Innovation Strategist: Fitz Maro
VP, Head of Production: Lucia Grillo
Head of Content Production: Sharon Harte
Senior Content Producer: Lorraine Schaffer
Senior Integrated Producer: Jamie- Leigh Florence
Associate Director of Influencer Marketing: Justin Riviera
Senior Social Publicist: Lauren Minella
Technical Director: Jameson Edwards
Front End Development: James Daly
Quality Assurance Testing: Paulie Srinuan

Axios NYC Credits:
Technical Director: David Yepez
Technical Director: Courtland Premo

tinygiant Credits:
Executive Producer: Veronica Diaferia
Director: Charlie Mysak
Director of Photography: David Vollrath
Producer: Ella Nuortila

Fluid Credits:
Editor: Jim Rubino
Assistant Editor: Dan Nassar
Producer: Meg Hall
Colorist: Shawn King
Audio: David Wolfe

adam&eveDDB launched a funny new campaign for department store Harvey Nichols giving historical figures a style makeover referencing the chain’s news Knightsbridge menswear location in a series of 20-second spots.

“Einstein,” for example, celebrates the man for having a “name synonymous with genius,” redefining modern physics and writing the world’s most famous equation as Beethoven’s “Moonlight Sonata” (come to think of it, the composer could probably use his own style makeover) plays in the background and the camera zooms out to reveal a pair of truly questionable footwear.

“Pity about the sandals,” the voiceover concludes, as “Great men deserve great style” appears onscreen and then  a graphic swaps in a pair of more fashionable kicks.

Another spot applies the approach to Barack Obama, 44th president of the United States, “first African American to hold the office” and wearer of dad jeans.

Other spots apply the approach to William Shakespeare (“dressed like a Christmas bauble”), Boris Johnson (“haircut like a labradoodle”) and Charles Darwin, whose beard we’d actually defend as kind of cool.

CREDITS

Client: Harvey Nichols
Agency: adam&eveDDB
Project name: Great Men
Client: Shadi Halliwell, Group Creative & Marketing Director; Anna Davidson, Head of Marketing
Chief Creative Officer Ben Priest
Executive Creative Directors Ben Tollett, Richard Brim
Art director: Tim Vance
Copywriter: Paul Knott
Head of Design: Alex Fairman
Agency Producer: Amanda Davies
Production Assistants: Nic Akinnibosun & Raluca Anastasiu
Account Management: Paul Billingsley (Business Director), Britt Lippett (Account Director), Katie Gough (Account Manager)
Agency Planner: Michelle Gilson
Media agency: Zenith Optimedia
Media planner: Tim Payne; Becky Dorfman
Animator: Rob Rae @ MOTIONCULT
Post Production: Touch Digital
VO Artist: Joe Dixon @ Sue Terry
Music Supervisor/ Audio post: Factory Studios
Soundtrack name and composer: main track – Moonlight Sonata/ Beethoven. Dance track composed by Si Begg/ Siren

A man is totally obsessed with the number five in David&Goliath’s latest for the California Lottery, promoting its Power 5’s Scratchers (get the connection?).

Said man wakes up in the morning in an apartment at 555 5th street at exactly 5:55 (yikes), walks to the local coffee shop and orders an Americano with five shots of espresso. We’re guessing he might be a bit jittery after that one. “On the fifth day of the fifth month” (today, as it happens), the guy takes five of his friends “up the five” on a five-day trip whose location is also determined by the number five.

The approach is a bit of a stretch at times (a five dollar Americano, with five shots of espresso, yeah right), but it’s also more fun and memorable than most lotto spots.

And, of course, you’re not supposed to take any of it seriously. It’s revealed near the end of the spot that the man’s obsession from the number stems from having won Power 5’s Scratchers grand prize of $555,555 as we see his winning ticket framed on the wall. The spot manages the transition from “What is this guy’s deal?” to promoting the product in question pretty well, and the reveal is more memorable for being a logical conclusion to the preceding narrative.

Credits:

Client: California Lottery
Chief Consumer Marketing & Advertising: John Koyama
Senior Advertising Manager: Elizabeth Wills
Marketing Specialist: Linda Barton MacDonald
Title: “Forever Five” :60
Agency: David&Goliath
Founder & Chairman: David Angelo
Executive Creative Director: Bobby Pearce
Creative Director/Art Director: Philipp Dietz
Creative Director/Copywriter: James (Jamie) Cohen
Creative Director/Art Director: Basil Cowieson
Creative Director/Copywriter: Greg Buri
Director of Broadcast Production: Paul Albanese
Sr. Broadcast Producer: Katie Lambrecht
Group Acct. Director: Stacia Parseghian
Management Supervisor: Dominique Branham
Account Supervisor: Lindsay Brown
Assistant Account Executive: Ellen Lovov
Director of Business Affairs: Rodney Pizarro, Esq.
Business Affairs Manager: Camara Price
Assoc. Mgr., Business Affairs: Travis Kohler
Creative Manager: CJ Stockton
Project Manager: Mike Antonellis
Hispanic Agency: Casanova Pendrill
Group Account Director: Melanie Cyr
Account Supervisor: Maritza Rodriguez
Senior Broadcast Producer: Eleana Meazzo
Production Company: Park Pictures
Directors: Christian & Patrick
Executive Producer: Jackie Kelman Bisbee
Executive Producer: Justin Pollock
Head of Production: Anne Bobroff
Producer: Valerie Romer
Editorial: Spinach LLC
Editor: Katie Turinski
Assistant Editor: Zaldy Lopez
Editorial Producer: Jonathan Carpio
VFX: Method Studios
VFX Executive Producer: Robert Owens
Lead Flame Artist: Emily Irvine
Music: Ring the Alarm
Music Producer: Jenny Hollowell

Kabbage is a “startup” that “Offers Solution[s] For Democratization Of Working Capital.” To translate for dumbasses like ourselves, that means the company’s product is a tech platform that allows SMBs (small or medium-sized businesses) to more easily get loans when they don’t have lots of money in the bank or rich people supporting them until they can hold their heads above water.

In March, Toronto-based MDC shop UNION won a review to handle creative for this company, and the first campaign launched a few days ago.

Its premise holds that small business owners often go to extraordinary lengths to support their passion projects, and the first spot concerns a situation that has almost certainly occurred at least once in recent history?

Certainly it’s all that simple! WOW!

Next, we can’t figure out why this “widow of an oil tycoon” would marry a startup loser with a cramped office and a personal style stolen from the year 1993, but we wouldn’t want to question the narrative or anything.

His zero money would not be enough to pay for her future plastic surgeries.

The ads will run throughout the U.S. despite being produced in Canada, and there will be some of the usual social media/dashboard banners and “customer emails,” shudder.

UNION partner/ECD Lance Martin had this to say about the project:

“Loans aren’t always the sexiest things to talk about, but for small businesses they are crucial to survival and growth. We thought it would be really funny to exaggerate some of the sacrifices business owners are willing to make to get the funding they need.”

The first one was kind of funny. But all would-be entrepreneurs still have to pay back that “automated lending platform,” and the vast majority of their ideas will fail completely, so…

Droga5 New York borrows from Wall Street in its “Introducing The Morning Bell” spot for Chase for Business.

“There are those who are up before the birds, before the sun…” begins the VO at the start of the spot, “yet there’s no celebration when their day begins.” The remainder of the spot could be summed up, more or less, as: “Well, maybe there should be.”

The ad goes on to invite small businesses to submit their own morning bell “for all to hear.”

It’s a pretty simple message, really, but one Droga5 and Chase hopes will resonate (reverberate?) with small business owners everywhere. The brand will pick some of the videos submitted and run them on its Times Square billboard, website and social media channels. A campaign microsite, ChaseMorningBell.com, already shows small businesses such as Seaside Deli & Convenience in Boynton Beach, Florida and Moomers Ice Cream in Traverse City, Michigan ringing their own morning bells.

“People are starting to value the craftsmanship, service and experience a small operator can put in, and this campaign helps celebrate and identify those small businesses in communities,” Justin Ruben, group creative director at Droga5, told Adweek.

“Some of them start at 4 or 5 in the morning, so these stories are inspirational, and they make the small-business community unique,” added Chase for Business CMO Allison Bennett.

CREDITS

Client: Chase for Business
Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Director: Justin Ruben
Senior Copywriter: Rory McKechnie
Senior Art Director: Paul Meates
Associate Design Director: Devin Croda
Senior Designer: Joseph Dasaro
Senior UX Designer: Annie Ha
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Group Integrated Production Manager: Topher Lorette
Broadcast Producer: Perry Kornblum
Associate Broadcast Producer: Jenna Allchin
Head of Interactive Production: Niklas Lindstrom
Executive Interactive Producer: Tom Longo
Interactive Producer: Andrew Puzzuoli
Head of Art Production: Cliff Lewis
Senior Art Producer: Emily Heller
Senior Print Producer: Alyssa Dolman
Global Chief Strategy Officer: Jonny Bauer
Group Strategy Director: Colm Murphy
Senior Strategist: Nick Maschmeyer
Senior Strategist: Ned Sonnenschein
Head of Communications Strategy: Colleen Leddy
Senior Communications Strategist: Yan Wang
Head of Data Strategy: Andrew Tully
Data Strategy Director: Katty Lein
Data Strategist: Anthony Khaykin
Executive Group Director: Jeff Prince
Account Director: Kristoffer Aldorsson
Account Supervisor: Sharon Byer
Associate Account Manager: Niamh Walsh
Project Manager: Leslie Alexander
Associate Counsel: Sarah Fox
Sr. Integrated Production BA Manager: Denise Klapp
Manager of Talent & Third Party Rights: Dawn Kerr

Client: Chase for Business
Chief Brand Officer: Susan Canavari
Marketing Director, Brand & Advertising: Melissa Webb
Sr. Marketing Manager,  Brand & Advertising: Nick Guerrieri
CMO, Business: Allison Bennett
CMO, Business Banking: Brent Reinhard
Marketing Director: Chad Cowman

Production Company: Snippies
Director: Alex Cullen
DOP: Alex Cullen
Executive Producer: Shelley MacLahlan
Producer: Tom DiCerbo

Editorial: D5 Studios
Editor: Ian Ogden
Studio Coordinator: CJ Trahan

Post Production: D5 Studios
Studio Coordinator: CJ Trahan

Editorial: Rock Paper Scissors
Editor: Dan de Winter
Assistant Editor: Noah Benezra
Producer: Jenny Greenfield

Post Production: Rock Paper Scissors / A52
VFX Producer: Barbara Kontarovich
VFX Artist: Edward Reina
Senior Producer: Jenny Bright
Colorist: Paul Yacono

Music: APM Music
Composer: Benjamin Balcom (Minbal)

Sound: Sonic Union
Mixer: David Papa

Interactive Production Company: Millennium Communications Inc.
CTO/CISO: David Denara
Interactive Creative Director: Chuck Killorin
Internet Application Manager: Jim Conte
Interactive Project Manager: J.J. Gembinski

Photographer: Paul McGeiver
Photographer: Robert Ohman

TBWANEBOKO launched a creative take on paper placemat creativity with “McTrax” for McDonald’s Netherlands, with app and tech development by This Page Amsterdam.

The placemat uses conductive ink, the placemat can be connected to a smartphone and transformed into a music production station. After selecting a beat, customers can select synth tones to create their own sounds and there’s even an option to record your own voice to complete the track.

That certainly seems like a lot more fun than crayons and word games.

“The paper of the placemat is what makes this technique so innovative,” TBWA creative technologist Radha Pleijsant and digital design lead Jan Jesse Bakker said in a statement. “The phone merely acts as the speaker and screen, which is easily connected to the placemat via Bluetooth, making the sure you can hear the music on your speakers.”

“This is exactly what McDonald’s is; a place to have fun and experience great moments, for everyone,” added Erwin Dito, director of marketing, communications and consumer insight for McDonald’s Netherlands.

What’s not to like about an interactive placemat?

Credits:
Client: McDonald’s Nederland
Agency: TBWANEBOKO
App and tech development: This Page Amsterdam
Placemat development: Novalia, Londen
Programmed beats: Darius Dante

W+K Portland launched a new spot for the Samsung Galaxy S7 edge, tying the smart phone’s VR capabilities (when combined with the brand’s VR headset) to the power of dreams.

“People love to dream, because dreams are awesome,” begins the voiceover at the opening of the ad, over footage of a young woman falling asleep on the bus and then floating above its opening roof. The spot continues to wax philosophical about dreams: “When we’re young we dream about what we want to be when we’re older,” and “When we grow older we dream about being young again.”

It all gets tied back to the brand with the question, “So if you could experience anything in a dream just by putting a phone on your face, why wouldn’t you get that phone?” The fine print explains that, of course, this requires another device (Samsung Gear) to get those the dream-like VR capabilities.

Always with the conditionals!

Aside from the fine print, it’s an imaginative spot, with cinematic visuals courtesy of production company Smuggler and director Adam Berg. The fact that Samsung is using the phone’s VR capabilities when combined with Samsung Gear as a selling point is perhaps a hint at the direction the company’s advertising will move in the future.

The spot itself might mark a new direction of sorts for the brand, but it’s also probably the last from creative director Jason Bagley, who recently left W+K to join Deutsch’s Los Angeles office as a CCO.

Credits:
Credits:
Agency: Wieden & Kennedy
Creative Director: Jason Bagley
Creative Director: Craig Allen
Art Director: Brandon Mugar
Copy Writer: Derek Szynal
Executive Producer: Erika Madison
Producer: Kevin Diller

Production Company: Smuggler
Director: Adam Berg
Executive Producers: Patrick Milling Smith, Brian Carmody, Drew Santarsiero
Head of Production: Andrew Colon
Line Producer: John Bick
Director of Photography: Joost Van Gelder

Edit: Cosmo Street
Editor: Paul Hardcastle
Executive Producer: Yvette Sears
Producer: Marie Mangahas

VFX: MPC
Executive Producer:Mike Wigart
VFX Supervisor: Paul O’Shea
VFX Supervisor:Zach Trucker

Goodby Silverstein & Partners launched a new campaign for Cisco entitled “There’s Never Been a Better Time.” It’s the first such work under new CMO Karen Walker.

The campaign celebrates the empowerment of technology to help people through difficult situations, such as refugees communicating with loved ones to let them know they’re okay in the 60-second anthem ad “People in Crisis.” Of course, the technology in question comes from Cisco.

The spot shows speech bubbles rising from refugee tents at various refugee camps, with family and loved ones sending messages like “”Yes, he made it too” and “We’re all here together.” It concludes with a look at the Cisco Emergency Communications station and the message “There’s never been a better time to connect those in need.”

Another spot, “Dangerous Jobs,” focuses on how Cisco systems power self-driving trucks for copper mining. A third-generation copper miner remarks how “Back then we’d drive straight in to those blast sites…but now, our trucks drive themselves.” It concludes with the line, “There’s never been a better time to make dangerous jobs safer.”

The campaign launches today, with broadcast spots running during the NBA Playoffs and across Turner Network Television channels. Supporting the broadcast efforts in the global campaign are OOH and print ads (see below), an online media buy targeting business and tech sites, a website redesign, employee engagement and a partner joint marketing strategy.

“No matter how ambitious your dreams or how impossible the problems you’re trying to solve, the technology already exists to make it happen,” GS&P creative director Will Elliott told Adweek. ” ‘There’s Never Been a Better Time’ celebrates how empowered we are today by technology. The message is an optimistic rallying cry to do something amazing right now.”

Credits:

Client: Cisco

Agency: Goodby Silverstein & Partners
Title of Creative Work: There’s Never Been A Better Time

Creative
Co-Chairmen: Rich Silverstein
Creative Directors: Will Elliot, Patrick Knowlton
Associate Creative Director: Felipe Lima
Art Directors: Maggie Bradshaw, Jeff Limon
Copywriters: Jonathan Pelleg, Alex Maleski, Jacob Baas
Executive Digital Artist: Jessica Pettigrew

Production
Director of Production: Tod Puckett
Executive Broadcast Producer: Hilary Coate
Broadcast Producers: Timothy Plain, Tess Kenner, John Riddle
Sr. Art and Print Producer: Alisa Latvala
Executive Interactive Producer: Danaa Zellers

Account Services
Group Account Director: John Coyne
Account Director: Tanin Blumberg
Project Integration Director: Liz Clark
Account Managers: Chris Nilsen, Bryan Wilson, Sam Thayer
Assistant Account Managers: Reesa Kashuk, Cameron Yates
Account Coordinator: Caitlin Kinney

Brand and Communication Strategy
Brand Strategy Director: Graham North
Brand Strategist: Marisa Perazzelli
Jr. Brand Strategist: Nora Allibhai
Community Strategy Deputy Director: Dong Kim
Communication Strategy Director: Nicole Richards
Director of Communications: Meredith Vellines

Business Affairs
Director of Business Affairs: Judy Ybarra
Business Affairs Manager: Anna Diokno

Production Companies

“People in Crisis”
Editorial/Post/Visual FX Company: Imaginary Forces
Creative Director: Michelle Dougherty
Lead Editor: Danielle White
Editor: Jess Ledoux
Flame Artist: Rod Basham
Art Director/Animator: Dan Meehan
Designer/Lead Animator: Timothy Williams
Designer/Animators: Carlos Enciso, Jay Kim
Animator: Gabriel Perez
Designers: Mariah Hourihan, Wes Yang, Kris Fortin
Design/Animation Intern: Robert Harrison
Executive Producer: Ben Apley
Head of Production: Tina Starkweather
Producers: Fayna Sanchez, Will Arnold
Coordinators: Rachel Cohn, Krista Templeton
PA: Kaitlyn Finn
Footage sourcing and licensing Company: Stalkr
Footage sourcing and licensing Producers: Aaron Priest, Ellen Callet
Color Correction Company: Apache
Sr. Colorist: Shane Reed
Color Correction Executive Producer: LaRue Anderson
Music & Sound Design Company: Yessian
Composer: Chris Plansker
Sound Designer: Mike Baluha
Music & Sound Design Executive Creative Director: Andy Grush
Music & Sound Design Executive Producer: David Gold
Audio Mixing Company: Lime Studios
Audio Mixer: Rohan Young
Audio Assistant: Ben Tomastik
Audio Executive Producer: Susie Boyajan

“Right Now”
Editorial and Finishing Company: Beast Editorial San Francisco
Executive Producer:  Jon Ettinger
Producer: Jeff Bielat
Assistant Editor: Seth Andrews
Editor: Adam Schwartz
Colorist/Flame Artist: Matt Trivan
Motion Graphics Artist: Steve McEuen
Animation Company:  1st Ave Machine
Animation Executive Producers: Lisa Villamill, Sam Penfield, Lisanne McDonnald
Animator: Mancel
Music Company: Human
Music Producer: Jonathan Sanford
Mix Company:  One Union
Mix Engineer: Joaby Deal
Mix Executive Producer: Lauren Mask
Mix Producer: Cienna Patmont

“Mining” Portrait Film
Production Company: Lo+Behold
Director: Marcus Ubungen
Director of Photography: Marcus Ubungen
Producer: Vieve Haag
Executive Producer: Peter Trucco
Editorial Company: Beast Editorial
Editor: Doug Walker
Assistant Editor: Joelle Wagner
Editorial Producer: Jeff Bielat
Editorial Executive Producer: Jon Ettinge
Telecine/Finishing Company: Beast Editorial
Colorist: Dave Burghardt
Music: The Elements
Sound Design Company: Beacon Street
Sound Designer: Rommel Molina
Mix Company: One Union
Mixer: Eben Carr
Mix Producer: Cienna Patmont
Mix Executive Producer: Lauren Mask

Cinemagraphs
Production Company: Logan
Executive Creative Director: Alexei Tylevich
Creative Director: Kaan Atilla
VFX Supervisor: Eric DeHaven
Executive Producer: Matthew Winkel
Producer: J.R. Tuason
2D Animators: Zach Kinney, Richard Powell, Fred Raimondi, Grant Cerulo
3D Animator: Kenneth Kurras
3D Modeler: Shamus McGlynn
FX Artist: Warren Heimall, Xray
Production Company: elevel
Executive Post Producer: John Dutton
Sr. Animator: Nathan Shipley

Print
Retoucher: Sam Nordemann
Retoucher: DMAX Imaging
Prepress House: DMAX Imaging